72 -+ / e. eaMæII t{ 6Þ +- Jewelers · Silversmiths · Statzoners Since 1839 CHE';TNUT & JUNIPER STS., PHILADELPHIA 7, P A. Haverford, Pd. · Wilmington. Del. í:-ke u PkilaJelphia J1 Sterlinq í:-ea Set ', '- " , 'f ,< ,\ "i U .:-:.:..<$ V" '1> "*' ,';'"" Y .<.. ..)... . ' " :::. : '''1 ' " """ ,p . .-. /o^ -c-oC "Ø 'v. > , '<'" .:.,.. . " "<" ")Yo "" , ' . ' ""'" ". , , " ..' ^ Exclusive Caldwell adaptations from origmals by Samuel Williamson, Philadelphia, 1796, in the custody of the Philadelphia Museum of Art. 5 pieces shown on tray .. ..... $690 (separate prices on request) Kettle and stand . . . . . . . $510 Tray, excluding handles, 22 in., $460; 24 in., $510 Prices include Federal tax . Mail inquiries given prompt attention '-:. "I The Trolley Bar gives perfect service. m'akes entertaìnin easy Cane side panels, black íprmica under hinged wood top. Brass recessed pulls and legs, s111oo-th-Tollingcasters. Closed': 41 " long.. Open: S11 2 ' long, :"::-:. ' ..x;.. .........:-.: -X<< .:"*: .v;' .-.- n" ....-:.:-:- :::: :."""'" -:...: .h -,' ....... .-"7" ':'.". "'"E.. :--..::-...... ::..... , . .:..... vW"'< ' , :":;-' .:. ......... <<s,. .a 0110"'" '" HERITAGE * Ma l fifty cents for Bov,Û w H e'ritage Fu'rniture, I 'He J Dept. NY-ll, High P01,.nt, l'v. '--'. DESIGN * CRAFTSMANSHIP what might be called a functional ex- istence, in that he chooses the way of maximum ease, casting aside the useless haggage of display by which many men seek to impress others. U util the recent growth of his studio into what shows promise of becoming a major industrIal enterprise, A vedon, unlike lnost success- ful magazine photographers, always In- sisted on doing hIs own developing and printing, since some of the effects he has made his name on involvE' the lab- oratory as crucially as the lens. He has now turned the laboratory work ovel to a technician named F rank Finocchio, who has worked with hitn so long and so closely that, once he has been shown w hat is desired, his eye can be trusted to react like a replIca of A vedon's own. In Paris, where A vedon and Louise Dahl-vVolfe take turns at the frantic job of photographing the semiannual collections of the big dressmaking houses for Harper's Bazaar, he relies on a minitnum, or a maximuln, of equipment-at titnes using a Rolleiflex for an entire collection, and at other timès renting generator trucks to illumi- nate ParIs for blocks, and police to hold back the crowds. He is noted for hIS tireless industry on these expeditions, rising long before dawn and keeping at it until late at night, either laboring over actual pictures or experitnenting with new schemes to give a nove] twist to what, owing to the coverage by the daily press, will be a falniliar story by the titne his photographs appear Over the years, there have been many tales about hIs troubles with capricious models in Paris (they made up a good deal of the plot of "Funny Face"), and lnost of theln are true Models do get lost and have to be tracked down through the mazes of boulevard night life; they do occasionally fall into the Seine; they do sometimes elope with wealthy playbovs; and Dovima did nearly topple froln the Eiffel Tower in an access of dramatic fervor. But for A vedon, crises of this kind are a desirable part of the theatri- cal background that he considers vital to his work. His leading lady must al- ways be involved in a dralna of some sort, and if fate fails to provIde a real one, A vedon thinks one up. He often creates in his mind an entire scenario suggested bv a modèl's appearance. She may be a waif lost in a big and sinful CIty, or a titled lady pursued in Hispano- Suizas by gentlemen flourishing eln- eralds, or an inconsolably bored wom- an of the world whose heart can no longer be touched-and so on. A ve- don models play scene after scene froln these scripts, and SOlnetitnes help out by